9.07.2006

zen intense melody

tim hecker's harmony in ultraviolet is enough to pull a motherfucker out of a coma. here's what he said to me last week:hecker on the album --"i wouldn’t say that it’s different. there’s always this desire to do different things. but there’s often little respect for craft or developing a voice. that can take a long time, that can be slow over different records. i kind of reject the need to be different. having said that, the new record is probably as heavy as any record i’ve done. i would say that it’s also as melodic as anything i’ve done, along the lines of my earlier work. but it’s also not noisy. the element of white noise is really surpressed on this record. it's zen intense melody, i suppose. it’s fairly dynamic, in the sense that there’s quite a trajectory over the fifty minutes, between different movements, between really mellow, traditional ambient pieces, and kind of neo-boredoms electronic metal insanity."hecker on why melody is important --"when i listen to something interesting in terms of its chord structure from a rock band, sometimes it totally underwhelms me for being pretty pansy or pretty weak in terms of its power. and then i listen to someone like merzbow and find it just as dissatisfying because there’s a total absence of tonal quality. melody gives a kind of redemption, a sort of power, and it’s so effective with noise."hecker on bucking the norm --"when i started out doing music, the intention was to be part of a music, electronic music in the late 90’s, that was challenging conventions, and doing something different. and that was a large part of it. for me, going back or resorting to the traditional, i don’t know? that’s not for me. i’m not being progressive for progressiveness’ sake. i just want to add something to the world that, hopefully, even if it fails, tries to do something authentic and new. obviously it’s never something that’s totally new or authentic."hecker on playing live --"all the onus is put on the musician. there’s no onus put on the listener for actually realizing that they’re a product of the 21st century -- a time in which attention span and focus are things that nobody has. i’ve worn costumes just to appease rock crowds. i dressed up as a druid dungeon lord. i’ve done it a few times, when i’m playing huge rock festivals and there’s like 2 or 3 thousand people. it’s kind of appeasing, but it’s also a sort of fuck you. because what’s the difference if i’m playing a mixing desk with fifteen different sound sources, that i‘m blending live, and running through 5 guitar pedals on a table top, or i’m dancing around playing three chords that i’ve played for the last fifteen years of my life. it goes back to that sort of pressure on the crowd to actually look at themselves, as opposed to me, doing something that’ll make them feel it’s worth it to go out. then you realize how ridiculous it is that people value three chords being jammed out and dancing around over something that maybe they don’t see as much. some people deal with that by putting cameras to show that they’re mixing. and that’s like giving in to the same demands. i just think some of that should just be put back on the audience. having said that there are some musicians who obviously aren’t doing anything. for me, that’s fine. even if someone plays an mp3, it puts a greater standard on the show. if their music is not good, and they have the ability to prepare it for a year, to make sure that performance is perfect and sounds amazing, there’s a greater pressure to reject things that aren’t good. i mean, how can you do laptop music that sucks? often, what i do is close the curtains on the stage, or i stand right beside the sound engineer, and completely eliminate the performative aspect. what they’re left with is two huge speakers, blasting enticing music."

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